I have around $6000 saved for a project studio. My only experience in recording so far has been with extremely primitive equipment. The main purpose of this planned (imagined) setup is to help me learn to make better recordings.

I'm interested in recording all types of music (jazz, punk rock, psychedelic pop, metal..and on and on and on...)

No doubt there are lots of posts like this here, but can anyone help me out or at least point me in the right direction(s)? Such as, is there any one place where I should invest most of the money (microphones perhaps?) I want to invest this money in quality equipment so that if my ability grows I won't have to replace all of it if I manage to move up the chain.

Well,

Two approaches I can think of.

1. Take a $1000 and book some time in a nice studio, or pay the owner of the studio to let you hang out in the studio for a couple sessions, with the agreement that you'll be an unintrusive observer, who is there for the engineer to share the what, why, hows with. You'll get a hang for what equipment is being used where, and what it sounds like. Based on that, you'll have a better feel for what can get you there with the rest of your $$.

2. Decide what medium you want to record in, computer or tape, and get that. And then get some decent studio monitors.

From there, build good signal chain going to your recording medium. This means buy a decent microphone ( MD 421? versatile and usefull), a decent mic pre ( one with a pad on input for recording loud sources), and perhaps a decent compressor(a zillion flavors to choose from). With a decent signal chain going in, you've got the tracking side. Track to your hearts content. Mixing is a different ballgame =)

There's my 5 minute, $.02 reply. I'm sure others can share their take on it.

Regards

ju

fum wrote:Well,

Two approaches I can think of.

1. Take a $1000 and book some time in a nice studio, or pay the owner of the studio to let you hang out in the studio for a couple sessions, with the agreement that you'll be an unintrusive observer, who is there for the engineer to share the what, why, hows with. You'll get a hang for what equipment is being used where, and what it sounds like. Based on that, you'll have a better feel for what can get you there with the rest of your $$.

2. Decide what medium you want to record in, computer or tape, and get that. And then get some decent studio monitors.

From there, build good signal chain going to your recording medium. This means buy a decent microphone ( MD 421? versatile and usefull), a decent mic pre ( one with a pad on input for recording loud sources), and perhaps a decent compressor(a zillion flavors to choose from). With a decent signal chain going in, you've got the tracking side. Track to your hearts content. Mixing is a different ballgame =)

There's my 5 minute, $.02 reply. I'm sure others can share their take on it.

Regards

ju

Thanks for the advice, fum. Particularly your mention of studio monitors, it reminded me that there's nothing worse than listening to playback through cheap monitors.


Just for the sake of the rest of this thread, in case anyone bites, I am strongly leaning towards a computer based recording system for overall economic reasons. In the longrun I'd like to switch over to tape. Recently I have been considering recording digitally and them mixing down to 1/4 inch tape so I can get a feel for running and maintaining a tape machine without the financial hit of doing all my early (inexperienced) tracking to expensive tape.

Decent computer: $1000
LCD monitor (doesn't interfere like CRTs): $400
I/O interface / DAW controller (dunno how many simultaneous ins you need, let's say 4): $1000
Decent monitors: $500
Starter mic selection (get 3 or 4): $1000
Decent preamp/channel strip: $500
Compressor: $200
Good headphones: $100
Cables, stands, misc, crap, etc: $300

That's $5000. I just saved you a grand!

Seriously, focus on the quality of the signal chain as suggested. Don't skimp on the I/O interface because a bad D/A converter will be noticeably bad. A good mic through a good preamp through a good DAC through a good I/O interface to a good computer through good monitors will be a good start. Good!

And don't feel forced to go with Pro Tools - Cubase LE came for free with my DAW controller and it works great for me.

I already have a 2.1GHz iMac G5 (not the best but I'd say it's decent). As far as interfaces go I am most attracted to the Presonus Firepod, as I have heard a lot of good things about them (particularly their features, price and durability when compared to MOTU products). Would anyone recommend one of those, or are there better interfaces in different price ranges that I would be able to grow with more?

Uncle Ball wrote:I already have a 2.1GHz iMac G5 (not the best but I'd say it's decent). As far as interfaces go I am most attracted to the Presonus Firepod, as I have heard a lot of good things about them (particularly their features, price and durability when compared to MOTU products). Would anyone recommend one of those, or are there better interfaces in different price ranges that I would be able to grow with more?

I've heard good things about Presonus gear. Never really heard anyone complain about them really. I don't know the Firepod specifically though...

stewie wrote:

Uncle Ball wrote:I already have a 2.1GHz iMac G5 (not the best but I'd say it's decent). As far as interfaces go I am most attracted to the Presonus Firepod, as I have heard a lot of good things about them (particularly their features, price and durability when compared to MOTU products). Would anyone recommend one of those, or are there better interfaces in different price ranges that I would be able to grow with more?

I've heard good things about Presonus gear. Never really heard anyone complain about them really. I don't know the Firepod specifically though...

Yeah, I have a Digimax LT, it sounds alright to me. I also have never heard anyone complain about it. I don't know if it has the same pre's as the firepod.

For a little over $1000 you can get a Metric Halo Mobile I/O. It's eight balanced analog ins and outs plus ten channels of digital I/O. And in my experience, it sounds better than the MOTU 828, DIGI002, and the DIGI001.

As far as microphones go, I'd suggest looking into a Sennheiser 421 or Beyer 201. The Shure SM-7 is a handy microphone that sounds equally good on kick, bass, and aggressive vocals. As far as condensers, a lot of people like the Oktava MC012s, I'm not much of a fan, but they are cheap and versatile. Audio Technica's 4050 is a pretty inexpensive and versatile large diaphragm condenser (good for bass, guitar, vocals and can handle a shitload of SPL).

spaghettilee wrote:For a little over $1000 you can get a Metric Halo Mobile I/O. It's eight balanced analog ins and outs plus ten channels of digital I/O. And in my experience, it sounds better than the MOTU 828, DIGI002, and the DIGI001.

As far as microphones go, I'd suggest looking into a Sennheiser 421 or Beyer 201. The Shure SM-7 is a handy microphone that sounds equally good on kick, bass, and aggressive vocals. As far as condensers, a lot of people like the Oktava MC012s, I'm not much of a fan, but they are cheap and versatile. Audio Technica's 4050 is a pretty inexpensive and versatile large diaphragm condenser (good for bass, guitar, vocals and can handle a shitload of SPL).

I've never heard of the Metric Halo Mobile I/O. How does it stack up to the Presonus Firepod? As far as mics, would it be worth it to go with a Beyer M88 or an Electrovoice RE/PL 20 instead of the Shure SM 7? Soundwise and versitility wise.

I'm also interested in more condenser mic suggestions. Both large and small diaphragm. Lately I am interested in trying out a matched pair of Josephson C42s, partially because I have heard they are very versatile, and partially because they seem to fall into a price class above the similarly purposed Studio Projects/Oktava/Rode Matched pairs.

I don't know anything about the Firepod, I do know that I hate that name.

Not sure about the M88, but RE20s are pretty comparable to the SM-7. As far as the Josephsons go, if you are willing to pay for it DEFINITELY get them. They're probably the best small diaphragm condenser in their class.